How to Send a Message 1000 years into the future

Some interesting ideas for how to make a durable inscription on the world.

http://www.theatlantic.com/technology/archive/2015/02/how-to-send-a-message-1000-years-to-the-future/385720/

re: Windows / Wendy Chun...The Neighbors / by Arne Svenson

NYC Photographer Arne Svenson photographed his neighbors from his window. Their faces are not shown, but nevertheless, when the photos were displayed, a group of the residents sued for invasion of privacy. The case was dismissed by a judge.
Behold, some links:

http://arnesvenson.com/theneighbors.html

http://6thfloor.blogs.nytimes.com/2013/05/23/when-photography-imitates-voyeurism/?_r=0

http://www.pdnonline.com/news/Judge-Dismisses-Priv-8708.shtml
 

2.23.2015- Drones and Susan Crile

Web site group of artist that do drone wedding art.

http://www.ryerson.ca/ric/exhibitions/DroneWedding.html

other artist talked about was Susan Crile.

SHIZUKA YOKOMIZO, DEAR STRANGER…

http://theharlow.net/shizuka-yokomizo-dear-stranger/

In relation to the windows discussion regarding the Wendy Chun reading.  A photographer who invites individuals to be photographed in front of their window at night, engaging in voyeurism/negation of domestic privacy; the individual would only see their reflection because of the difference in light between inside and outside...interesting back and forth between privacy and permission with windows as a mediation device.

David Harvey: A Brief History of Neoliberalism

https://drive.google.com/file/d/0B8eAD-Ol-9y7bm9ZWE9CbjlPd2c/view?usp=sharing

St. Augustine

Lydia Dildilian

The fountain of Youth was one large working aporia or as Windy Chung would quote Darrida, it was a large working pharmakon. I felt like Gay Debord would have had a hell of a time. The place the freaked me out, the place that made me most uncomfortable was easily the "Christian Indian Burial Ground". It was discussing to think how they were profiting on such a honorably history.

As far as the time aspect. It was a odd moments that the park seemed to capitalized on history in a peculiar way. Like telling a weird story, they tried to bring a since of older or rather past time, to the future or present time. Like it would make every one feel happy and safe about talking about the past and altumintly the fact that all these so called "great founders" are died. I believe it was suppose to proved a comfortable way of viewing time. It addressed the audience in a passive and indirect way, which I have never really noticed that historical theme parks use as a tactic for telling history.

Marks and Objects

A theme of marking popped/pooped up.  Also collected a variety of objects to place into an object orientated ontology analysis in relation to their particular history from these particular spaces/places.

These are just a few images that I took during the derive yesterday. I have some video as well that I can share tomorrow.

Photospheres from the Fountain of Youth

3D scanned models forthcoming.

Link to look up theoretical terms

 Example: epistemology
http://www.rep.routledge.com/article/P059

Documentary About Relationship Between Pollitics, Noeliberalism and Psychology

The Century of Self http://topdocumentaryfilms.com/the-century-of-the-self/

THING I FOUND- related to todays class discusion- 2.9.2015

Things I found that might be nice to think about... 



Short story by Ray Bradury. It is a wonderful little read and could bring some nice thoughts about.

 The Sound of Thunder by: Ray Bradbury

Umberto Eco: 'We Like Lists Because We Don't Want to Die'-

http://www.spiegel.de/international/zeitgeist/spiegel-interview-with-umberto-eco-we-like-lists-because-we-don-t-want-to-die-a-659577.html

It's about time, man -- movies!

Excellent indie movies about time:
Time Crimes (Los Cronocrímenes) (2007) dir. Nacho Vigalondo
Primer (2004) dir. Shane Carruth

TV show:
Black Mirror (ep. 3 The Entire History of You)
I recommend the whole series!

Work in My Time Relationship, Laura D

I think a great deal about the build up of a life, meaning, all the things collected that are used to describe an individual. In my practice, I am concerned with ideas of the ideal and the actual and how each influences the other. Each individual’s present state is based on the accumulation of all past experiences bumping and mixing with the happenings of the present, the expectation for the future, and their understanding of self. Our impression of an individual is determined by these factors combined with our own empirical pile of past, present, and future. As time is relative to each individual, so are the assumptions and interpretations of each person in regards to themselves and how they view others.

I wonder about the debris we collect as we pass through time, sticking to us like burrs. I attempt to examine this through the metaphor of a wall that has been whitewashed over to quickly remove evidence of a past paint job, stains, dirt, etc... proof of the people, animals, and elements, having interacted with the surface over time. Recently I have been painting on drywall to examine the materiality of a wall. As of now, I build the panels as separate objects, not allowing integration with the structure of a room. This is to point out each painting's objectivity as well as a hesitance to commit to the building a wall to "better" serve the concept...

At the moment, the imagery I use comes from a kind of exaggerated saccharine interpretation of femininity combined with messy abstraction that is meant to serve as an element of chaos and violence, the latter representing the unanticipated events of life. By using specific imagery, such as bows and hearts, with a color pallet that might be described as "girly", I am approaching the origin of my personal experience of stereotypical ideals related to my gender. These types of symbols or decorations are stand-ins for what we and society allow to shape our expectations and definition of self and world. Over time, these expectations might be reached, they may change or diminish, or they might become channels of bitterness. How ever the these expectation manifest, they are present in someway throughout our lives, sometimes underneath layers and layers of paint.

TIME by: Lydia Dildilian (Not like the magazine)

Ok--so where to begin, time that is a pretty open subject in my my studio practice. I guess the best way for me to start is to go into the actual sad reality of how many hours, I slave away in my studio. I often think of The Avett Brothers song lyric, "I work less like a work horse and more like a slave." Its more like a second home to me than anything. If that tells you anything. If I had a bed in there, I don't think I would ever go home. I feel like time kind of stops when I am in my space working. The days meld together and before you know it--- it's not the weekend any more. There is an odd type of transitory space that my minds seems to go to when I work. My body seems to stay in reality some what, but my mind drifts to a place were time seems to not effect it. Not that it stops but it drifts in and out or this weird melding of time and space collapse inward, like unfolding action, if you will. I am not a religious person really but I would describe myself as more of a spiritual person, I guess where I am trying to go with this, is that there is this odd moment, when I am working and this time collapse thing happens and I find myself close to something I really can't explain. Maybe that is god or a giant spaghetti monster, or perhaps I have finally inhaled to many solvents over the years and I am now crazy. Time finds it's way into my studio and it affects me in the most confusing of ways. From the long hours that I spend working or from the many mistakes, that I have to make to finally realize the correct solution to the problem.

I thought i would share this photo with everyone because it some ways. I feel like when, I work in this fashion (painting/ installation) I am like some analog clock, recording my fleeting moments of this weird time/space concatenation. 

Time

I think my work has a lot to do with time but I have never really thought about it. As a photographer I create images that represent segments of time. All of the processes I primarily work with are archaic and require a good deal of time. The wet plate collodion process that I am doing requires time of me and my subjects The work I am currently doing requires me to monitor UV output at different times so that I get the results I want. Since I am very process oriented everything I work is made to archival. I read somewhere recently that "if you take the time it will stand the test of time".

Jessi's Relationship to Time in Art Practice

Time makes me scared and stressed out. I seem to go through periods where I have way too much time and have no idea what to do with myself, and other periods when I feel like time is just slipping through my hands. It kind of rules everything if I let it. I'm not really sure how to think of time in my work aside from the fact that I spend time doing it. But I think there's more to it than that, I just haven't given it much thought before. Time exists on its own within all of our work. In one way or another, my paintings are reflections on wandering and the attempt to get lost. Can I  make myself forget the time? This happens when I'm working in the studio. I don't work by any windows so it's difficult to tell if it's light or dark outside (like in casinos). This is really the only time my mind can transcend time, if we are so engaged in something that we forget. I don't like to replicate specific times in my paintings but more so a dreamlike sense of time, where the presence of it is known, but not pressing.

Time and Forever

I start with a picture of a screen print I did a couple years ago called "Time and Forever" for a show called "The Endless One". The question of time has been one that weaves itself in and out of the work I create and impacts us all. I am fascinated by it's duality, it's empirical nature that lords over experience in a very empirical, factual way and it's phantom-like ability to allude both theologian and scientist. The search for what time is in my own work is a mixture of faith and studying readings of the sciences, primarily theoretical physics. The wonder is in the similarity of both practices to live out and search for the reality of the unseen and apply the information from both fields in an effectual way. I take the example of  timelessness mentioned in Biblical text. "Heaven" is referred to as "Eternity" or endlessness, a dimension where there is no entropy. "The last days" is explained in a scenario where entropy or the arrow of time is seemingly reversed. All these "outlandish" notions of extra dimensionality, the reversal of entropy and the existence of an eternal plane where past present and future coincide at once, can actually exist...or at least it can in numbers, and it does in many theological studies. I can't help but think that there is something more to this. Mathematicians and physicists have been grappling with the notion of time and the infinite for centuries through use of equations and symbols to create a hypothesis that can suggest the seemingly "impossible"...the possibility of endlessness, putting in place the framework that time itself is an entity stemming from a singular point that it will return to. With this in mind I begin building. Each piece created also serves as a hypothesis stemming from personal inquiry about time, God, the universe, testing the limits of what may be viewed as "common sense" in hopes that the effects of wonder will spill over and serve as a catalyst propelling forward topics of faith and research in the arts, in our personal living,  bringing together communities of varying thought and practice.

TIME

     The concept of time becomes more and more relevant as I deepen my spiritual practice.  I strive to only live in the present moment, without lingering over the past or being anxious for the future.  Meditation as well as yoga has helped me delve deeper into the now.  This desire for being in the present moment heavily influences my artistic practice.  My work has become a meditation practice in itself.  I stay with each mark, I become the brush, the ink, the paper.  The movement of my hand never becomes monotonous, each gesture is witnessed.  When I work, I am entirely void of thought.  I let go of the ego.  At times I become formless, I no longer belong to myself.